Ed Herendeen on June 4th, his favorite day of the festival: First Rehearsal.
because of some of the controversial issues the plays raise.” Herendeen believes this freedom to take chances, to veer from what he calls “community-approved, sanitized art” you see in some communities, speaks to the nature of CATF being on a college campus, where ques-
tioning and debate and criticism are valued. “I’ve always believed that as artists we are noisemakers, oftentimes supporting work that is a reflection of our society.” Another thing he is proud of — they have demonstrated by failing that they have taken the fear out of failure. “We’re creating belief in an empty space with u PHOTO Seth Freeman
DECEMBER 2012
JANUARY 2013
Select season and begin playwright negotiations with agents.
Begin hiring artistic team, including directors and designers for each show.
Select venues for plays and determine repertory slots. Begin developing play and season images for marketing. Attend National New Play Network’s annual conference in Washington, DC. Gidion’s Knot by Johnna Adams (part of 2012 season) published in American Theatre magazine and also named the #3 best play of the year by Washingtonian magazine.
Unveil season to CATF trustees at the annual board retreat, in addition to revealing the name of the new CATF performance space, the Stanley C. and Shirley A. Marinoff Theater. Send out initial “early bird” mailing with plays to past subscribers. Begin preliminary discussions between Ed and playwrights.